credited As

Matthew Perry to Further Torment Chris Noth: Well, on The Good Wife, anyway. Despite a demanding filming schedule in Los Angeles for his new hit sitcom Go On, Perry has found a way to reprise his role as Mike Kresteva, an attorney who is running for the governorship against Noth's character, Peter. [Deadline]
Gossip Girl Will Show Her Face: Though we highly doubt that she will be THE Gossip Girl, we're as excited as Kristen Bell was when she saw that sloth to learn that she'll most likely be making a guest appearance on the show's Dec. 17 finale. [TVLine]
Haven Gets a Fourth: Haven, the SyFy drama based on Stephen King’s novella The Colorado Kid, just received a 13-episode order for a fourth season. It will debut in 2013, with Gabrielle Stanton of Moonlight stepping to the plate to run the series, along with current exec producer Matt McGinnis. [Deadline]
Lohan Bails: Well, at least no one has to PAY her bail. But Lindsay did bail on her highly anticipated 20/20 interview with Barbara Walters, which was set to air Nov. 16. She was going to promote her upcoming Lifetime movie Liz &amp; Dick, but Deadline's sources claim that her people were dissatisfied with direction of the interview. [Deadline]
Brickleberry Lands a Second Season: Looks like Daniel Tosh has a reason to celebrate: Brickleberry, the animated park ranger comedy he exec produces, just landed a 13-episode second season order from Comedy Central. The show does well in the male young adult demo which is, um, not surprising. [Deadline]
Follow Shaunna on Twitter @HWShaunna
[PHOTO CREDIT: Lifetime]
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Gary Powell is the guy you call when a movie stunt enters "death-defying" territory. Powell has worked steadily in the world of stunts since the '90s, with credits ranging from Braveheart to Titanic to 101 Dalmatians. The physically demanding career eventually lead him to become a stunt coordinator, a job as immersive as the hands-on role of a stuntman but that also required Powell's creativity and eye for orchestration. In the naughts, Powell worked as the maestro of stunts on film like Alexander, Indiana Jones and the Kingdom of the Crystal Skull, and the upcoming samurai epic 47 Ronin (which Powell revealed a few secrets to us about earlier this year).
Scrolling through his lengthy list of credits, it's clear that Powell's career has a backbone: the James Bond franchise. Powell helped shape the series' action set pieces as a stuntman in Goldeneye, Tomorrow Never Dies, The World Is Not Enough, and a stunt coordinator in Casino Royale and Quantum of Solace. He returns again for this week's Skyfall.
"It's a lot bigger job than what people think it is," Powell tells Hollywood.com. "It's months beforehand going through the scripts. Getting the director's ideas. Having your input in it as well. And then when a particular stunt is OK, it's talking to the other departments. We might have to have certain bits done to the costumes. If Bond's wearing some really nice shoes, we might have to have a pair that has rubber soles on them. For slippery floors. You wouldn't want leather shoes."
Every minutia of an action scene must be concocted by Powell and his team before cameras roll, making his job one of the few that balances the grand with the hyper-detailed. Powell ran down some the wildest work he's done on the franchise to prepare us for his latest tricks that will explode screens in Skyfall. When Powell talks about his dangerous career, he makes it sound like another day at work. But to an outsider, it sounds absolutely insane:
GoldenEye: The Tank Chase
"I was driving the tank in [GoldenEye]. We built a huge set in the studios, which was a lot easier for us so we were 100% in the control of it. But when I was driving the tank in Russia — we did some stuff on small streets in Russia — and, when you're doing 30 miles per hour in a 35 plus ton tank, it doesn't stop like a car.
"It was quite stressful when you're going down towards buildings that are 100 years old and you see the look of fear of God on the Location Manager's face… if we hit this buidling, we're all going to get locked up for the rest of our lives! It plays on your mind a little bit."
The World Is Not Enough: The Boat Chase
"I drove the little black jet boat that did the barrel roll. I was known for jumping in any vehicle and drive it. I also drove the crane in Terminator 3 and the double decker bus in Harry Potter [and the Prisoner of Azkaban].
"It was really fast. Incredibly fast. It was this little jet boat that can literally run in six inches of water and turn on a dime. It was great fun. I was also driving the skidoo things in the Alps. That was in Chamonix in France. Everything we do is out of the health and safety rule book."
Casino Royale : The Collapsing Italian Villa
"That was a major build. Chris Cobalt built an amazing rig for that house. The whole house weighed nine tons. And the whole thing was on hydraulics so it could sink inside the water and tilt and pan. That was a huge operation for us. Everything had to be specifically built — if Bond hit something, it had to fall away. The lift slides, the stairs give way … we couldn't just build something and say, 'This is what we're going to do.' While we were doing that we were also shooting the airport sequence. You get pulled on a job."
Quantum of Solace: The Burning Hotel Fight
"The exteriors were in Peru, but everything inside was a set piece at Pinewood. It was hot in there. There was a lot of fire. We had Daniel in there, and he had a fire suit on. He wanted to be in there with all the roofs collapsing around him!"
Check back next week when Powell tells us all about conceiving and pulling off the wild stunts from Skyfall.
Follow Matt Patches on Twitter @misterpatches
[Photo Credits: MGM (2); Columbia Pictures (3)]
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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Taylor Swift may want to set her face to perpetual stun: the 22-year-old pop/country star just sold 1.2 million copies of her new album Red in its first week. It's a feat that hasn't been accomplished in 10 years, when Eminem moved 1.32 million copies of The Eminem Show back in 2002. "They just told me Red sold 1.2 million albums first week. How is this real life?! You are UNREAL. I love you so much. Thanks a million ;)," Swift tweeted in response to the news.
Among the various jaw-dropping statistics Billboard released about Swift's Red, which "sold two albums every second last week in the U.S." and "accounted for 19.3% of all albums sold in the U.S. last week," is that it holds that eighth-largest sales week for an album in SoundScan's history and is already the third biggest-selling album of 2012, behind Adele's record-breaking 21 (which has moved 4.1 million copies this year alone) and One Direction's Up All Night (1.3 million).
Still, there's one hurdle Swift wasn't able to get over. No, not finding the right boyfriend to settle down with, thus rendering the tabloid rumor mill and 90 percent of her songs ineffective. Rather, the chart-topper couldn't quite top the now-defunct boy band 'NSYNC. The pop quintet still holds the all-time record for debut week sales when their 2000 smash No Strings Attached moved 2.4 million copies.
While it's impossible for Swift to break that record now, that doesn't mean she can't have the same massive impact that 'NSYNC did post-No Strings Attached. Sure, she can't create a TRL-infused frenzy like they did (and, boy, don't you get the impression she and Carson Daly would have gotten along swimmingly?) but that doesn't mean she can't follow a similar model.
Here are five possible 'NSYNC-inspired paths Swift can take now that she, too, is a Billboard legend.
- Reinstate TRL to beat 'NSYNC's records on there. And Eminem's for that matter. If anyone can wield that power over MTV, it's Swift.
- Hit Broadway, baby. Both Joey Fatone and Lance Bass took on iconic roles in shows on the Great White Way, Rent and Hairspray, respectively. With teen-friendly Hollywood A-listers (Daniel Radcliffe) and pop stars (Nick Jonas) alike getting in on the act, it seems like a logical move for Swift and a way to prove to skeptics that she can put on a live show. She's just begging to be the lead in Annie, no?
- Randy Jackson would love to have her as a guest judge on America's Best Dance Crew, dawg. Just ask, JC Chasez. (Seriously, someone go check on JC Chasez.)
- Get a haircut to make yourself resemble a pineapple. Hey, it "worked" for Chris Kirkpatrick.
- Take over the pop culture industry as a whole. Open a restaurant, do a phenomenal job hosting Saturday Night Live and be asked to return repeatedly, give a brilliant supporting performance in an Oscar-winning drama (sorry, that means no more Valentine's Day), and splash your inevitable overblown nuptials all over the cover of People magazine. Of course, in turn, this means you will have to utterly ignore and reject the musical career and supporters that made you a superstar in the first place. Hey, it worked for Justin Timberlake.
Follow Aly Semigran on Twitter @AlySemigran
[Photo credits: WENN.com]
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Greetings fellow The Voice watchers and welcome to the Knockout Rounds! Since many of my East Coast colleagues are busy dealing with the wrath of Hurricane Sandy (stay safe, y’all!), I am “stepping up to the mic,” as it were, and taking over The Voice recapping duties for the time being. Now to be honest, I’ve only seen a few episodes of the show here and there, but anything involving the words “singing battles,” “knockout rounds,” and “Adam Levine” sounds like a good time to me. So let’s get started!
With no more steals to fall back on, the pressure was on in full force for the remaining 40 contestants, especially since only half of them (that’s 20 for you anti-math fans like myself) will be selected for the show’s live playoffs by week’s end. Yikes!
Last night featured Team Adam vs. Team Cee Lo…
Team Adam:
The first two to face off were Joselyn Rivera and Kayla Nevarez. Since both girls have a similar pop star quality sound, Adam wanted to get these two side by side to see which one deserves to advance to the next round. In a bold move, Rivera tackled Beyoncé's “Love on Top” song and managed to hit a wide variety of hard-to-reach notes (well, at least most of them). Nevarez, on the other hand, opted to play things a little safer by giving a cautious rendition of “Shark in the Water” by V V Brown. Though Adam was very pleased with both performances, he preferred Joselyn’s risky approach and advanced her to the next round.
Next up was Joe Kirkland vs. Bryan Keith, who also share a similar sound (I think I’m starting to understand the strategy here). In a surprise choice, Joe belted out “Mean” by Taylor Swift, while Bryan went for the swoon approach with “Everything I Do (I Do It for You)” by Bryan Adams. Joe may have had the risk factor in this one, but Bryan’s spot-on performance proved that he has the talent to make any song (even the romantic, cheesy ones) his very own. So it’s Bryan for the win!
Then came Amanda Brown who sang “Paris (Ooh La La)” by Grace Potter and the Nocturnals vs. Michelle Brooks-Thompson, who performed “Spotlight” by Jennifer Hudson. Talk about two powerhouse voices, these girls have it in spades. Amanda brought sass and vocal firepower, while Michelle showed off some serious artistic range. And while they both seemed to kill it out there (Christina called it a real singer’s battle), Adam decided to go with his gut and keep Amanda. Personally, I agree with the choice. That girl’s singing chops deserve a proper chance in the spotlight.
Next we had Loren Allred sing “You Know I’m No Good” by Amy Winehouse against Nicole Nelson, who chose to perform “If I Ain’t Got You” by Alicia Keys. According to the rehearsal footage, it looked like Nicole was the preferred favorite, however, Loren had a truly stellar performance, making all of the coaches speechless and completely wowed. Adam wanted her to stop sounding like a wedding singer and take on a deeper, darker edge. Well, wish granted! It was a truly incredible breakout moment that left Adam with only one choice: he had to pick Loren. Let’s hope there’s more where that came from. Loren, welcome to the dark side!
Last up for Team Adam, Melanie Martinez took on “Bulletproof” by La Roux, while Sam James performed “Walking in Memphis” by Marc Cohn. Sam’s style was fun, but it lacked the vocal strength necessary to stay in the competition at this point. That being said, I think he is just adorable and I want us to be best friends (seriously, can we make this happen, please?). But regardless, Melanie’s albeit breathy performance was far superior, so it’s no surprise Adam sent her into the playoffs. Now we just need her to get rid of that hair bow.
Team Cee Lo:
First up was Avery Wilson (singing Chris Brown’s “Yeah 3x”) vs. Cody Belew (singing “Jolene” by Dolly Parton). It seemed to be an off night for Avery, who was trying to do a little too much all at once when he really should’ve been focusing on how his voice sounded (thus the name of the show). But instead of giving the guy some leeway, Cee Lo decided to send him packing, sending Cody off to the next round. And just like that, the guy everyone thought would win it all, doesn’t even make it to the playoffs! Oh Cee Lo, you really are one unpredictable fella.
Next up was Mackenzie Bourg vs. Daniel Rosa – who both had very unique song selections. While Mackenzie performed Carly Rae Jepsen’s “Call Me Maybe,” Daniel sang “Back to December,” making this the second Taylor Swift song of the night – both performed by guys (is this a trending thing now?). But unlike Daniel’s rather forgettable rendition, Mackenzie completely changed up the monotonously catchy tune into something that was – dare I say – kinda awesome? I know, you guys. I shouldn’t like it, but I did. By the end, even his opponent was singing along. This dude has my vote! And apparently he has Cee Lo’s too since he sent Mackenzie on to the next round. (Maybe we should lay off the Taylor Swift songs for a while, gentlemen).
Then came Terisa Griffin who went up against Trevin Hunt in a seemingly flawed move on Cee Lo’s part. These are two amazing singers who both deserve to go on to the playoffs, so why pit them against each other so soon? But hey, that’s just one girl’s opinion. Terisa sang the classic Whitney Houston song “Saving All My Love for You,” which was just as emotionally powerful as it was vocally. Seriously, this girl can bring tears to your eyes faster than any Nicholas Sparks book. But then there’s Trevin, who did an equally strong performance with Phil Collins’ hit “Against All Odds (Take a Look at Me Now).” Seriously, why does either of them have to go home? This is like the Sophie’s Choice of singing competitions. But sadly, a decision did have to be made and Cee Lo chose to save (drumroll please)…Trevin!
The next knockout battle was between Mycle Wastman and Nicholas David, who both have very soulful voices. Mycle went with Elton John’s “Don’t Let the Sun Go Down on Me.” It was good and everyone loved it, but then again, that could have more to do with the song than the actual performance. Meanwhile, Nicholas sang a lively rendition of “Put Your Records On” by Corinne Bailey Rae, making this yet another guy opting to sing a girl song (was this an intentional theme for the night?). It was fun, but I wasn’t overly thrilled. Perhaps now that I’ve heard Trevin sing, no other guy can match up. Even the coaches seemed split on what to do. But in the end, Cee Lo made the decision to keep Nicholas.
And last but not least was Caitlin Michele (singing “Bring Me to Life” by Evanescence) vs. Diego Val (singing “Are You Gonna Go My Way” by Lenny Kravitz). The song choices were actually pretty perfect for each of their individual styles. There’s no doubt Caitlin has the stronger vocal talent, but Diego really knows how to liven up a crowd with all that energy of his. None of the coaches seems all that thrilled with either performance (probably because they’re still in shock over Terisa’s unnecessary elimination. I’m not bitter or anything). But regardless, Cee Lo chose to advance Diego into the playoffs.
And look – this means Cee Lo has picked five guys and zero girls to go on to the live shows. I’m not sure if this makes him utterly foolish or a complete genius. We’ll find out soon enough! But in the meantime, what did you think of last night’s eliminations? Sound off in the comments below.
The Voice returns Tuesday for another two-hour Knockout episode starting at 8 p.m. – this time between Team Blake and Team Christina.
Follow Kelly on Twitter @KellyBean0415
[Photo Credit: Tyler Golden/NBC (2)]
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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Last night's episode of Don't Trust the B---- in Apt. 23 was absolutely perfect. That's not because it featured tranquilizer guns, moral depravity, and jokes about gay hookup app Grindr. (But then, really, when doesn't it?) No, it was because it finally took television and the entertainment press to task for it's unhealthy obsession with "reunions." Ugh, if I have to hear one more thing about "reunions" I'm going to reunite my feet with a bridge and then disunite them when I jump the hell off of it.
Last night James Van Der Beek, who plays a version of himself on the show, was talked into doing a Dawson's Creek reunion to disastrous results. The whole thing was a play on the disturbing trend that is taking over TV when it casts people from one of its stars' old shows to try to get a little boost in the ratings. If the old gang is back together, everyone will come flocking, right? Recently we heard about the Heroes reunion on Hawaii Five-0 because George Takei and Masi Oka will both be on (this is after the same show capitalized on Terry O'Quinn and Daniel Dae Kim's Lost reunion). Then there's the Will &amp; Grace reunion on Smash because Sean Hayes will be stopping by to sing a few bars with Debra Messing. Oh, and let us not forget about the Franklin &amp; Bash reunion that is happening because Mark-Paul Gosselaar is going to guest-star on a show produced by his current costar Breckin Meyer.
OK, we all need to calm down with this nonsense. First of all, Gosselaar and Meyer are currently starring on a show together which has only been on for two seasons! That's like having a reunion of the cast of New Girl when you can see them already united each Tuesday on Fox for free. That is ridiculous. As for the Will &amp; Grace reunion, do you know what that is missing? Will! And Karen! The same thing goes for Heroes, especially considering that Takei (though excellent) was never even a series regular. Where are the rest of the damn heroes? These aren't reunions, these are just popular actors appearing on the show together once again. Do you know what that is called? Acting! It is called acting on a show with someone who you have acted with in the past. It is called the way that television has always worked since the dawn of time.
You don't see The Good Wife calling it a Birdcage reunion because Christine Baranski and Nathan Lane have been cast together. You don't see the same show calling it a "Fire Island Hot Tub Party" reunion because Alan Cumming and John Benjamin Hickey are back together. You don't see TBS calling the season one episode of Law &amp; Order featuring Cynthia Nixon and Chris Noth a Sex and the City pre-union because it happened before the later show was cast. No, some people don't want the cheap publicity from having two actors that worked together sharing craft services once again.
But some shows (Cougar Town and their several Friends reunions) or certain groups of fans (there have been more phony Lost reunions than we care to count) just won't let it go. And neither can the press, which gets plenty of clicks on the internet from the nostalgia of people wanting to reengage with their favorite old shows. Red carpet interviewers are the worst, asking anyone who has ever been on a popular show when we can expect a reunion as they walk past the wall of flash bulbs. They all say they'd love to do it, but it never quite happens. Hmm. I sarcastically wonder why? Because it's an awful idea, that's why!
As far as I can tell, this recent "reunited and it feels so good" obsession started with Jimmy Fallon trying to reassemble the cast of Saved by the Bell, which got his fledgling show plenty of attention and wasn't a horrible idea. That was around the same time when Seinfeld did a real/fake reunion on Curb Your Enthusiasm. Also a good idea. So is Entertainment Weekly's annual "reunions" issue because it actually delves into where the people have been, has them reminisce about the show/movie that made them famous, and puts them into interesting photos. Also, in all of these cases, the entire cast gets together (minus Screech, who is still reuniting with a porn movie). A reunion is not made of two people. You don't call dinner with your mom a family reunion. It's just life. It's just the way things are.
That is what was perfect about Don't Trust the B---- in Apt 23. (We really need a shorter name for this show. Don't Trust? The B? Apt. 23?) It was a little bit of a reunion – Busy Phillipps stopped by as did Frankie Muniz and our old reunion friend Gosselaar all playing versions of themselves – but without falling into the old nostalgia trap of having them relive their old roles. It took our old favorites and made them into something new and interesting. It also poked fun at the ridiculousness of the proposition to begin with: the fans who can't move past the moment in time when they were obsessed with one particular program, actors not wanting to appear ungrateful about their success but not wanting to go back into a role they're trying to outshine, and our collective obsession with nostalgia. It ended with some good advice: to walk away from the past in slow motion as it explodes like in a John Woo movie. It's time we do that to the whole concept of reunions in general. There are more shows out there than any human being can watch, tune in to one of those and just hope two people from The Wire pop up on any given episode. It happens more often than you'd even know or most people care to make a big stink out of.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: ABC]
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Ben Stiller, Kristin Davis, Brian May, Ricky Gervais, Morgan Freeman and Dame Judi Dench have also handed their footwear to the Small Steps Project, which delivers aid to children living on rubbish dumps in impoverished nations around the world.
Martin has given up the boots he wore while recording Coldplay's latest album Mylo Xyloto, Ronnie Wood's shoes have been hand-painted and supermodel Kate Moss has signed her autograph in the pink lining of her Mulberry heels.
A pair of Stefanel sandals have also been put up for grabs by actress Sienna Miller, who says, "These shoes were given with love. I loved dancing the night away in them and hope they can bring as much joy to someone else. It's a privilege to be able to donate to such a worthwhile charity."
Lulu, Kevin Bacon, Ralph Fiennes, Liam Gallagher, Sir Tom Jones and Danny Boyle have also contributed shoes to the auctions on eBay.com.

Simon Waterson, the hardcore fitness instructor who trained Matthew Fox for his role as serial killer Picasso in new thriller Alex Cross, also worked with Daniel Craig on his cut James Bond look and Chris Evans on his hulking Captain America physique.

I'd like to start this recap by thanking the two presidential candidates, Mitt Romney and President Barack Obama for all their hard work this week. Without them, 75 percent of Daniel Craig's fantastic SNL episode wouldn't have existed. There would be no opening sketch with a Chris Parnell cameo and a sleeping Obama. There would be no Rachel Maddow Show skit with Jason Sudeikis' surprisingly on-point Chris Matthews impression. And most importantly, we wouldn't have witnessed the greatness that was Seth Meyers' dad-joke-tastic interview with Big Bird. (Yeah, that one.)
After Romney said it was time to cut the large feathered friend off the government teat, Big Bird swooped by SNL to plead his case to Seth. Of course, by plead his case, we mean he spent his interview being adorable, lovable, tall, and surprisingly topical. Of course, Weekend Update kept the magic going with an impression of Cecila Gimenez, the woman who ruined her restoration of a Jesus fresco and turned the son of God into a mouthless werewolf. Luckily, "she" was ready to defend her hilarious painting from Seth's impeccable logic. Kate McKinnon is quickly becoming one of the go-to comedians on the new SNL. But, alas, we must discuss the man of the hour: Daniel Craig. Who knew this guy was funny? Or at least cool enough to hang with the funny people to hilarious effect? His opening monologue was an homage to all this silver screen ass-kicking, and unlike Jimmy Kimmel's self-facing in-memoriam at the Oscars, Craig's in memoriam of all the bad guys he's wasted on-screen was both terrifying and chuckle-worthy. Of course, Craig got the chance to work his chops as an American for a sketch that might be a little New York-specific, but was hilarious none the less. Craig played a Joe Schmo construction worker who couldn't quite get the hang of your average woman-heckling session. Craig also held his own as a divorcee who's introducing his new girlfriend (Fred Armisen in yet another dress) to his friends. Besides her being Fred Armisen in a dress, Regine (the female version of Reggie, in case you were curious) is a stuffy intellectual who only wants to talk about books and drink Henricks gin (with ice on the side). To make matters worse, Craig's sad sap loves nothing more than to kiss Regine's neck and inspire looks of horror (or what Lady Fred Armisen calls an O-face). He wasn't really doing the heavy lifting here, but he certainly added a little something. Of course, you don't bring Bond on and not have him be Bond. So the episode included a skit full of "the Bond girls you don't remember." The skit was so-so, especially Nasim Petrad's Lea Michele impression, which basically consisted of a terrible sweater and singing all of her lines. Stick to the Kardashian Klan, Nasim. And while you'd think two skits about the debates and a visit from Big Bird might be overkill, the veteran sketch show figured out a way to make the most boring debate in decades funny. Twice. First, to open the episode, Chris Parnell returned to deliver his best Jim Lehrer while Jay Pharoah's Obama got sleepy from the Denver altitude and dreams of his wife while Sudeikis' Mitt Romney steamrolled him. There's nothing too innovative here, but it was a well-executed joke born out of everything the majority of Americans were thinking on Wednesday night. The second sketch seemed to be overkill, but was actually more about the Liberal pundits trying to justify Obama's disappointing debate performance. Cecily Strong jumped right into her Rachel Maddow impression (which is worlds better than the choppy dude she attempted later in the episode in a skit about a man who brings his cat to space); Kenan Thompson delivered his Al Sharpton to hilarious perfection, excusing Obama's sleepy delivery with a wacky theory about a Freaky Friday style body swap; but best of all was Sudeikis' exasperated Chris Matthews, which proved that while Sudeikis' good impressions are few, they're solid. As usual, not every skit was a slam dunk, but even the stinker of the evening - the aforementioned space skit - was saved by Bobby Moynihan's hilarious and extremely obnoxious cat lover stuck in space. Plus, I'm prone to give 10 bonus points to any sketch that includes a live kitten with adorable tufted ears. When in doubt, just make it a cat video. Which skit was your favorite? More: Saturday Night Live Recap: Seth MacFarlane Gets Laughs, and the Boys Take Over A History of Saturday Night Live At the Emmys Great Job, SNL! Jay Pharoah Set to Take Over Obama Impression This Fall
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